ABSTRACT

This study focuses on listeners’ form perception as they encounter Western concert music. The general aim was to investigate college music students’ form perception as they listen to five long-range concert works of different styles, all analyzed by the author as having an overall ternary ABA’ arch-form. Five groups of college music students (N=126) listened respectively to five ternary arch-form compositions by Chopin, Mussorgsky, Tchaikovsky, Bartók and Schönberg. Each group was required to identify the musical form of one test-piece and convey responses both through written notes and self-invented notations. Significant differences were found between the five test-pieces in the percentage of participants who confirmed the ternary form analysis and participants who interpreted the form as binary. Also, significant differences were found in (i) five cue-parameters contributing to form detection: tempo, timbre, pitch, articulation and mood; (ii) in emotional and metaphoric responses evoked by the music; and (iii) in the use of colour in visual representations of musical form. A significant association between auditory/ternary perception and graphic/ternary designs was found in works by Chopin, Mussorgsky and Bartók. Results bear implications for the teaching and learning of structural listening in Western concert music.

摘要

这项研究着重于听众在遇到西方音乐会音乐时的形式感知。总体目的是调查大学音乐专业学生在听五种不同风格的远程音乐会作品时的形式感知，所有这些均由作者分析为具有整体三元ABA'拱形-形成。五组大学音乐系学生（N = 126）分别听了肖邦，穆索斯基，柴可夫斯基，巴托克和舍恩贝格的五种三元弓形乐曲。要求每个小组确定一个测试件的音乐形式，并通过书面笔记和自发明记法来传达答复。在确认三元形式分析的参与者和将形式解释为二进制的参与者中，五个测试件之间的百分比存在显着差异。同样，在（i）有助于形式检测的五个提示参数中发现了显着差异：速度，音色，音调，发音和情绪；（ii）音乐引起的情感和隐喻反应；（iii）在音乐形式的视觉表示中使用色彩。肖邦，穆斯堡斯基和巴托克的作品中发现了听觉/三元感知与图形/三元设计之间的重要联系。结果对西方音乐会音乐中结构性听力的教与学具有重要意义。